Galerie Suzanne Tarasieve inaugurates the second edition of Summertime. This yearly group show gathers for the first time works by Champion Métadier, Seçkin Pirim and Pierre Schwerzmann.
From sculpture to pigment prints and paint on canvas, the works of Summertime #02 vibrate, tip over and levitate. They draw on geometry and abstraction to challenge physical gravity or the support’s planarity. With each work, the illusion of a transition is supported by technique, composition, but also the relation between colours, articulated along their intrinsic qualities; and although phenomenological principles underlie the works of these three artists, coming from diverse backgrounds, it is above all the spiritual and poetic power of suggestion which is celebrated here, by playing on optical unrest and the capacity of forms to come to life.
Champion Métadier – born in 1947 in Tours (France), lives and works in Paris and New York.
Champion Métadier isolates singular objects from our daily environment and undertakes a quest for the establishment of a repository of signs, codes and logos. The added value of digital techniques allows her to sculpt, cut, and draw images, and to build them with different intentions. In doing so, her compositions transcend notions of figuration and abstraction and convey the enigma and paradox of transition.
Seçkin Pirim – Born in 1967 in Ankara (Turkey), lives and works in Istanbul.
Pirim’s sculptures explore form, colour and pattern. Working within a variety of media, his work, inspired by minimalism, questions the relation between object and space, the dichotomy between nature and culture, and the boarder between art and design. By concentrating on the purity of forms, Pirim also magnifies visual illusions from nature and strives to make visual experiences interactive.
Pierre Schwerzmann – Born in 1947 in Aubonne (Switzerland), lives and works in Nyon (Switzerland)
After a long period of experimentation, exploring through deconstruction the history of painting, its surface of representation and its status as object, Pierre Schwerzmann questions the relation between the viewer and the painting. In his practice, the artist also demonstrates that a painting is not only perceived for itself but that it conditions the perception of the entire space in which it is hung.